Who all directed the five dirty harry movies? I have them, I should know, but just for the sake of posting.I know don seigel did dirty harryI know ted post did Magnum forcedidn't clint direct at least one of them? Buddy van horn? James fargo?

Like I said I could just look at the boxes, but I'm too lazy this morn

Actually, Clint Eastwood directed one or two scenes of Dirty Harry.In fact, Don Siegel was ill one day of shooting.So Clint replaced him and directed the scene where a man on a rooftop is saved from suicide by Harry.The other scene is the confrontation between Harry and Alice, a gay, at MountDavidson park.

Music composer Lalo Schiffrin said that on the set of Magnum Force, he saw Clint calling for many shots.However, Ted Post was the director of Magnum Force. But the collaboration between Clint and Ted Post wasn’t so happy on Magnum Force because Clint became a director and had his own vision.They disagree many times.

This is true, and the fact that Clint took a turn ... I was going to say in the director's chair , but he was up in the air! Anyway, that he directed the "jumper" scene in DIrty Harry is quite well known (I think it was featured in Life magazine at the time). I actually didn't know he directed the "Alice" scene as well.

The tensions on the Magnum Force set were reported in some detail in Schickel's biography. I didn't know Schifrin had commented about it.

Eastwood probably directed half or most of Tightrope as well though Tuggle got the credit.

This was in fact acknowledged in Schickel's biography (pages 290-291):

Quote

It seems Tuggle lasted no more than a day in full control of the location. One witness remembers him hesitating overlong on the placement of a picture in the background of a shot. Another recalls him choosing a camera placement that ensured a door that had to be opened in the scene would block the actors from view. And these were comparatively simple shots. "He didn't know how to function in a decision-making deal" is the way Clint puts it. He also suggests, and it is the only criticism of Tuggle that he offers, that the would-be director should have spent some time on other sets, observing how the job was done. It was too late now. There was much complicated work still to be done involving crowds, high-voltage action and sophisticated coverage, and Clint simply did not feel Tuggle would be able to handle it.

Here it was again, the near-endemic problem of trying to direct a star who was not only the film's de facto producer, but also his own best director (at least until someone proves otherwise to him)—vastly complicated in this case by the fact that Tuggle was manifestly "such a good guy," as Clint describes him. Even if the Directors Guild's Eastwood rule* had not prevented Clint from taking over, he really didn't want to.

So a compromise was worked out. The writer would stay on, contribute what he could in a collaborative way and receive directorial credit, while Clint, literally, called most of the shots. Tuggle insists he made substantial contributions to his script's realization in this role, and Clint does not deny them. But our eyes tell us this is very much an Eastwood movie—his stylistic tracks are all over it—and the anecdotal evidence supports this reading.

We gave Clint the directorial credit in the filmography of Clint Eastwood: Interviews.